amui1-Project-05-Wallpaper

amui1-p5

//Allison Mui
//15-104 Section A
//amui1@andrew.cmu.edu
//Project-05


var x = 50;
var y = 50;


function setup() {
    createCanvas(480,480);
}

function draw() {
    background(187,0,0)
    stroke(234,247,206);
    strokeWeight(1);
    //flower design
    for (xPosition = 40; xPosition < width - 20; xPosition += 100) {
      //don't make lines through middle
      if (xPosition <= 150 || xPosition > 300) {
        line(xPosition,0,xPosition,height);
        var y = 20;
        //loops for height of canvas - 100 arbitrary number
        for (i = 0; i < 100; i++) {
          //checks if odd or even tick
          if (i%2==0) {
            fill(234,247,206);
            //flower shape
            ellipse(xPosition-10,y-10,5,5);
            arc(xPosition-10,y-10,5,15,PI,0);
            arc(xPosition-10,y-10,15,5,HALF_PI,3*HALF_PI);
            //flower stem
            line(xPosition,y,xPosition-10,y-10);
            y+= 30;
          } else {
            //flower stem
            line(xPosition,y-15,xPosition+10,y-25);
            //flower shape
            ellipse(xPosition+10,y-25,5,5);
            arc(xPosition+10,y-25,5,15,PI,0);
            arc(xPosition+10,y-25,15,5,3*HALF_PI,HALF_PI);
          }

        }
      }
    }

    //middle line

    line(width/2,0,width/2,height/2-75);
    line(width/2,height/2+75,width/2,height);
    //middle beads design
    //top half
    ellipse(width/2,50,10,10);
    ellipse(width/2,60,7,7);
    ellipse(width/2,67,5,5);
    //bottom half
    ellipse(width/2,height-67,5,5);
    ellipse(width/2,height-60,7,7);
    ellipse(width/2,height-50,10,10);


    //chinese oriental symbol
    noFill();
    stroke(218,0,0);
    strokeWeight(5);
    ellipse(width/2,height/2,125,125);
    ellipse(width/2,height/2,50,50);
    ellipse(width/2,height/2,20,20)


    //inside of middle symbol
    //rotate 8 times
    for (var i = 0; i <8; i++) {
      push();
      //move to center of canvas
      translate(width/2,height/2);
      //rotate 8 times
      rotate(TWO_PI * i/8);
      strokeWeight(2);
      //design
      line(30,28,35,33);
      line(35,33,40,28);
      line(40,28,30,18);
      line(30,18,20,30);
      line(20,30,35,42);
      line(35,42,55,15);
      line(55,15,35,12);
      line(35,12,33,15);
      line(33,15,44,23);
      pop();
    }

    noLoop();
}

Again, I really enjoyed this project and how challenging it was. Using loops is extremely efficient, however, I found it hard to conceptualize. For my project this week, I wanted to connect it with my culture. I am satisfied with my final product. However, originally, I wanted to draw a dragon. But, it was too hard to figure out curves, quadratic curves, bezier curves, etc. In the future, I’d like to expand upon that and how I can utilize loops to make it easier to draw. I started with sketching and as you can see see from my attached pictures, my wallpaper changed many times throughout the iterations.

Above is my original sketch.

Above is what I used to figure out and conceptualize how to do the for loops with the middle oriental symbol.

mmirho – Looking Outwards 5 – 3D Art

I’m very interested in the concept of rendering 3D water.

This is present in video games, yes, but I see it as a blockade in most 3D generation. It’s been a problem ever since 3D graphics were conceptualized; making rendered water realistic. I’ve seen only a few examples of legitimately fluid water, and here’s one such example.

The reason it’s so difficult is it required physics engines to calculate the positions of each piece and make the whole flow of the 3D water natural.

Unfortunately, liquids have so many individual points within them, that it’s nearly impossible to calculate them all.

I’m unaware of what artists dabble in this type of art, but I know it requires teams or animators and programmers to get even remotely right.

I think the processing engines we are creating now will be able to handle such types of programs, and 3D generation, in general, will improve.

hschung-Project-05

sketch

// Heidi Chung
// Section A
// hschung@andrew.cmu.edu
// Project-05

// (245, 185, 140) peach
// (200, 90, 90)


function setup() {
    createCanvas(400, 400);
    background(172, 234, 245);
}

function draw() {
    spaceBunnies();
}

function spaceBunnies() {
    var tw = 60;
    var th = 75;
    var oy = 50;
    var ox = 50;
    var amt = 10;

    for (var rows = 0; rows < 5; rows++) {
        for (var col = 0; col < amt; col++) {
            var py = 10 + oy + rows * th;
            var px = ox + col * tw; //th and tw = bounding box of circles
            noStroke();
            fill(255); //bun face // 255, 200, 200 medium pink
            ellipse(px-90, py + 5, 55, 50);

            fill(0); // both eyes
            ellipse(px-105, py +5, 7, 5);
            ellipse(px-140, py, 7, 5);

            fill(245, 185, 140); //nose
            ellipse(px-154, py, 7, 5);

            fill(255, 200, 200 ); // mouth
            ellipse(px-152, py + 12, 13, 15);

            fill(255); // both ears
            ellipse(px-105, py-25, 13, 25);
            ellipse(px-140, py-25, 13, 25);

            fill(255, 200, 200); // ear insides
            ellipse(px-105, py -25, 8, 18);
            ellipse(px-140, py-25, 8, 18);

        }
    }
}





I started out by sketching some doodles, and I thought I might do a pattern involving bunnies or space, and moon/star shapes. I decided to go with the bunnies because I thought it was cute and work well if it was repeated as a motif. I went for a simple, cute wallpaper, one that I could see being used for a phone background. If I were to do this again, I would like to try making some of the bunnies with different expressions for points of interest. Doing this project helped me strengthen my familiarity with for loops again- but I would like to solidly understand it inside and out, so I can manipulate them with more finesse.

mmirho – Project 5 – Wallpaper

Leaves!

I spent most of my time getting the construction of the leaf right, but after that, it was just making a simple alternating grid of them, like we’ve done in class before.

sketch

//Maxwell Mirho
//Section A
//mmirho@andrew.cmu.edu
//Project 5

function setup() {
    createCanvas(400, 400);
    background(10, 170, 260);
}

function drawLeaf(tipX, tipY) {

    fill(150,250,150);

    fill(10, 170, 260);
    arc(tipX + 30, tipY + 95, 60, 60, 1.5708 + 0.2, 3.14159, OPEN);
    fill(150, 250, 150);
    //Stem

    //Leaf tip
    triangle(tipX, tipY, tipX + 30, tipY + 70, tipX - 30, tipY + 70);

    //Leaf butt
    arc(tipX, tipY + 75, 60, 55, -0.3, 3.14159 + 0.3, OPEN);

    stroke(100,200,100);

    //1st (Top) leaf contour)
    arc(tipX, tipY + 51, 60, 60, 0.83, 2.3, OPEN);

    //2nd
    arc(tipX, tipY + 40, 50, 50, 0.83, 2.3, OPEN);

    //3rd
    arc(tipX, tipY + 29, 40, 40, 0.83, 2.3, OPEN);

    line(tipX, tipY + 88, tipX, tipY + 20);
    line(tipX - 1, tipY + 88, tipX - 1, tipY + 20);
    stroke(0);
    //Center leaf contour
    
}

function draw() {
    
    for (var x = 0 ; x < 6 ; x += 1) {
        for (var y = 0 ; y < 6 ; y += 1) {
            //Creates a grid

            push();
            translate(x*100, y*100);
            //Move the tip of the leaf to the grid

            if ((y%2) == 0) {
                rotate(-0.5);
            } else {
                rotate(0.5);
            }
            //Twists the leaf the opposite way if the row is an even number
            
            drawLeaf(0,0);
            //Draws an entire leaf!
            pop();

        }

    }
}

thlai-Project-05-Wallpaper

I wanted to create a pond-like wallpaper with fish and water ripples. At first, I had my fish going straight to the right, horizontally, but decided it looked too static. I rotated/translated instead, to make it seem like the fish were following each other in a stream.

sketch

// Tiffany Lai
// 15-104, Section A
// thlai@andrew.cmu.edu
// Project 05 - Wallpaper

function setup() {
    createCanvas(480, 480);
    noLoop();
    angleMode(DEGREES);
    ellipseMode(CENTER);
}

function draw() {
    background(245, 241, 219);

    var fx = 25;
    var fy = 10;
    var num = 7; // number of fish in each row
    var offset = 10;

    // CREATE ROWS OF FISH
    for (var y= 0; y < 9; y ++){
        for (var x = 0; x < num; x ++) {
            if(y%2==1){ // every other  row
                num = 3;
                offset = 100;
            } else {
                num = 4;
                offset = 10;   
        }
            translate(5, 0);
            rotate(x);
            fish(fx*5*x + offset, fy+60*y-20); // draw the fishes
        }
    }   

    // CREATE WATER DROPS
    var droplet = 100;
    for(var i = 0; i < 6; i++){
        push();
        stroke(255, 190);
        strokeWeight(2);
        noFill();
        ellipse(400, 10, 10+i*(5+i*10), 10+i*(5+i*10)); // right ripples
        ellipse(150, 200, i*40, i*40); // middle ripples
        ellipse(0, 50, droplet-i*20, droplet-i*20); // top ripples
        pop();
    }
}

// FISH FUNCTION
function fish(fx, fy) {

    push();
    translate(fx, fy);
    rotate(30);
    noStroke();

    fill(random(210, 255), 110, 74); // fill with random orange
    quad(20, 27, 38, 39, 28, 52, 53, 37); // tail
    triangle(71, 22, 78, 21, 83, 27); // top fin
    triangle(68, 51, 82, 42, 79, 49); // bottom fin

    fill(random(50,100), random(90,150), random(130,180)); // fill with random blue
    beginShape(); // body
        vertex(53, 37);
        vertex(78, 27);
        vertex(92, 29);
        vertex(100, 37);
        vertex(95, 43);
        vertex(77, 43);
    endShape();
    pop();
}

thlai-Looking-Outwards-05

Marpi’s installation named “The Wave” is an interactive, meditative touchscreen that uses 3D computer graphics to create an abstractive wave form. The installation is a large scale installation that allows users to touch the multiple screens and guide the water particles. The shapes of that particles that make up the wave are generative, and they are constantly evolving and moving. I admire its simplicity and its tendency not to overdo the project with crazy colors or movements, but Marpi’s installation is a flowy, slow-moving art. Just watching the video is incredibly soothing and satisfying as I follow each particle from its beginning point to its end.
Marpi’s simulation is built by using open source shaders powered by Three.js. In an interview, he says that he is inspired by the people he interacts with every day, and believes art is a way to show others his dreams and place people inside his art.

mjnewman Project-05, Section A

mjnewman-wallpaper

//Meredith Newman
//Section A
//mjnewman@andrew.cmu.edu
//Project-05 Wallpaper

function setup() {
    createCanvas(470, 470);
}

function draw() {
    background(100, 200, 205);
    for (var y = 0; y < height+50; y += 120) {
        for (var x = 0; x < width+50; x += 120) {

        	//Top Half-Head
        	noStroke();
            fill(290, 130, 200);//pink
            ellipse(x + 50, y + 50, 50, 50);
            //cover up for bottom half of circle
            fill(100, 200, 205);
            rect(x + 25, y + 50, 50, 25);

            //Tentacles
            stroke(290, 130, 200);
            strokeWeight(4);
            line(x + 30, y + 50, x + 35, y + 80);
            line(x + 42, y + 50, x + 48, y + 90);
            line(x + 54, y + 50, x + 57, y + 72);
            line(x + 66, y + 50, x + 71, y + 82);

            //Head Circle
            noStroke();
            fill(240, 80, 150);//slightly darker pink
            ellipse(x + 56, y + 33, 15, 8);//oblong circle

            //Bubbles
            fill(120, 220, 225)//slightly lighter blue
            ellipse(x + 90, y + 55, 10, 10);//medium bubble
            ellipse(x + 78, y + 20, 20, 20);//big top bubble
            ellipse(x + 20, y + 90, 8, 8);//small bottom left bubble
            ellipse(x + 33, y + 100, 5, 5);//tiny bubble
        }
    }
    noLoop(); 
}

I first had the idea to do a pattern of jellyfish. While, sketching actual jellyfish, I couldn’t stop thinking about Spongebob Squarepants and when he would go jelly fishing. So that definitely informed my color choice and somewhat of the graphic translation.

mmiller5-Looking Outward-05


“Southern Ground Hornbill” by Leandre Hounakke

Southern Ground Hornbill is a work by Leandre Hounakke in 2013.  It is a photorealistic 3D rendering of the bird of the same name, meaning that everything was created with 3D software — that’s right, no photos!  I have absolutely no clue how art can be made like this, basically indistinguishable from the real thing, but that’s what makes this amazing!  You can really tell that the artist has an immense attention for detail, especially through the different textures of the feathers, skin, and beak.  I admire the level of skill and mastery that this artist has attained and how he is able to utilize them to create work like this.

ljkim Looking Outward 05


Snapshot from Nike’s Air Max campaign using 3D computer graphics.

After reading the prompt, I was immediately drawn to my internship this summer with Nike. I worked internally for them, and became close to the 3D team. This commercial/ad uses 3d graphics to communicate Nike Airs. The use of color and material communicates the light, flow, and durability of that particular line of shoes. I appreciate how easily Nike was able to convey that feeling through the use of 3D computer graphics. Its impressive how this level of fidelity is now available.

This is defiantly more design than coding – and frankly I much enjoy that. If there were algorithms used for this project, I see it being used in the geometric patterned scenes.Repeating the same shape, in different sizes, then randomizing the location of each. For example, 00:13.

Nike ~ Air Max 2017 from ManvsMachine on Vimeo.

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jknip-SectionA-LookingOutwards-05

Michael Theodore’s Scratchboard Engravings (2014)

Theodore collaborated with the Boulder Engineering Studio to create a robotic arm that creates millions of tiny straight lines through computer code. The interesting part of this project is how the robotic arm can etch patterns in a three dimensional quality, which would have been significantly more different if done through the human hand. I really admire the patterns as they form very intricate patterns and in real life, reveals more about the white clay canvas. The algorithms forms original line formations and combinations, and it takes between 10 to 16 hours to produce each piece. Theodore was able to capture the artistic, natural and gestural quality of the human hand through this mechanical etching method.

http://michaeltheodore.info/

https://creators.vice.com/en_us/article/aeng5g/robotic-drawings-turn-computer-code-into-intricately-etched-patterns